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The article explores possible literary origins for the motif of the walking forest in the play "Macbeth," by William Shakespeare. The author reflects on the elements of ancient Celtic culture in Shakespeare's work. Emphasis is given to the scholarship of authors Christian-J. Guyonvarc'h and Pierre Le Roux on topics such as witches as druids and the appropriation of mythology.

A literary criticism is presented for the play "Macbeth" written by English playwright William Shakespeare. Topics discussed include the use of the teaching of literary scholar Rainer Nägele in the author's approach to the play, the use of witches in the play, and the use of murder in the play. The ways in which reading and understanding the works of German author Franz Kafka can be helpful in understanding "Macbeth" are also examined.

Aroint thee, an imprecation addressed to a witch, occurs only in Shakespeare and in his later imitators. Its usual gloss in modern books is 'begone', and it seems to have served as a deterrent against witches. There is no compelling reason to classify aroint with verbs. Both Germanic and Romance etymons of aroint have been proposed. None of them sounds convincing, so that dictionaries call aroint a word of unknown or uncertain etymology. Most probably, the formula refers to the rowan tree, famous in myth and folklore for its apotropeic properties. Rowan and its variants are of Scandinavian origin, but, as far as we can judge, the imprecation was coined in England. [ABSTRACT FROM AUTHOR]

This article focuses on the connection between Shakespeare's Macbeth and the famous English witch trial which took place in Lancashire in 1612. The judicial proceeding was recorded by a clerk of the court, who went by the name of Thomas Potts, whose reportage of the events was inconsistent and unstable, as I attempt to point out. In so doing, I underline the reasons -- political, religious and opportunistic -- that possibly motivated his behaviour, highly criticisable by modern standards. [ABSTRACT FROM AUTHOR]

In Shakespeare's plays, most notably A Midsummer Night's Dream and Macbeth, the supernatural world provides a means to discuss desire, a force both uncanny and inescapable. In the modern fantasy genre, the liminal world of the fairies and witches becomes just as essential, and the question of human versus super-human experience takes center stage. Terry Pratchett's invocation of Shakespeare in the Discworld series, particularly in the novels Wyrd Sisters and Lords and Ladies, which rewrite Macbeth and A Midsummer Night's Dream respectively, allows for an exploration of the ambivalent relationship between desire, enchantment, and human free will. In these novels, Pratchett suggests that while desire is an unavoidable, powerful, and ambivalent part of life, with all attendant dangers and strengths, the heart of successful magical thinking lies in human response and choice. [ABSTRACT FROM AUTHOR]

Points out allusions to Seneca's `Medea' in William Shakespeare's portrayal of Lady Macbeth in the play `Macbeth.' Recapitulation of Medea's revenge on Jason for taking a second wife; Paralellism with Lady Macbeth's reference to wanton destruction of children.

The article discusses a curse associated with the play "Macbeth" by William Shakespeare, based on the play's characters of the three witches. The author presents information on the common superstitious belief that productions of "Macbeth" are unlucky and that quotations from the play outside of performances bring a curse upon the individual. Superstitious associations with the play's musical scores, including one by composer Richard Leveridge, are discussed, as well as the theatrical superstitions of 19th-century actress Sarah Bernhardt.

The article presents a literary criticism of the play "Macbeth," by the English dramatist William Shakespeare. The author feels that this play, more so than any of the others written by Shakespeare, makes use of espionage and intelligence gathering. Early in the play, the character Macbeth is greeted by several witches who identify him as the future king and they appear later in the play.